There aren't many surprises in Fire Down Below, except for the presence of a few very good actors (Harry Dean Stanton, Kris Kristofferson, Levon Helm) and a slew of country stars in cameo appearances (including Loretta Lynn's twin daughters and singer Randy Travis, who looks to have a future as a movie heavy). [8 Sept 1997, p.C2]

The late Mr. Cassavetes directed a film called A Woman Under the Influence. This is a powerful variation on that theme -- a woman tossed every which-way, physically and emotionally. [29 Aug 1997, p.A]

Compared to many movies of this kind, this Beaver is an enjoyable but mixed bag. [22 Aug 1997, p.C]

Takes a premise that seems ripe for broad, vulgar joking and turns it into a sly, even subtle, comedy.

So intense and warm are Leigh's feelings for his characters, that we may remember Hannah and Annie long afterward as old friends -- imperfect yet lovable, pals with whom we've suffered and laughed a lot.

The movie sticks with you, thanks to LaBute's observational powers and the three impressive lead performances. [15 August 1997, Friday, p.C]

There are some cute visuals now and then, but overall Good Burger may raise your blood pressure and, if you suffer through the entire 94 minutes, perhaps even lower your IQ.

Although Star Maps has some merit as a mood piece, Arteta's treatment of the audience has parallels to Pepe's treatment of Carlos, as he hammers home a message of no hope. [8 Aug 1997, p.K]

A smart, funny and hip adventure film in a summer of car wrecks and explosions. [4 July 1997]

Jack Lemmon and Walter Matthau, the co-stars of Out to Sea, keep fooling, beguiling and surprising us. Nothing can sink or ruffle them. Even with substandard scripts or dubious projects, they remain one of the greatest comedy actor teams the American movies have had: two longtime stars with formidable talents who complement each other perfectly. [02 July 1997, p.2]

Disney's smashing new mythological feature cartoon, is one of funniest and most purely entertaining of all the recent Disney animated efforts.

More thoughtful than advertised. And as a confection, it's less sweet and more flavorful than your average wedding cake. [20 June 1997]

Greenaway is a unique filmmaker in that he layers images upon one another in a single frame and doesn't require dialogue to make his films arresting. [18 Jul 1997]

Both sides of the story -- the larger context and the intense and intimate drama -- are painted with an absolutely unswerving sense of truth. And, as we watch this movie, full of violence, injustice and compassion, there is barely a moment that seems calculated or contrived.

It's ludicrous, but it's fun. Besson is a filmmaker so in love with his own daffy excesses that he's able to pull us, laughing, right into his world of loony pop. [9 May 1997]

It's just another Williams and Crystal movie. But let's see a few more.

A disjointed and ugly film that has all the dramatic depth of a tractor pull. [06 June 1997, p.J]

The key to the film, however, is the joyous performance of Mike Myers, who plays both the Beatle-mopped Austin Powers and the bald-headed Dr. Evil.

Movies about moviemaking usually fall into one of two categories: ones that satirize or debunk the film industry or ones that celebrate it. Irma Vep, a sometimes dazzling French film by writer-director Olivier Assayas, does both. [13 June 1997, p.I]

Traveller is a low-key, intelligent examination of some fascinating people who must do plenty of fast talking just to survive. [25 Apr 1997]

Grosse Pointe Blank is covering the same kind of territory as that elephantine, if exciting, 1994 family man-killer thriller, "True Lies." But this time, the joke stings. [11 April 1997, Friday, p.A]

This small-scale, low-budget movie is defined by an honest searching quality.

Double Team is loony but likable, a would-be triple double that ends up eking out a victory over its own script. And while Tsui is the man who makes it work, Rodman, on his best bad behavior, does his bit, defers to his teammates. At the end, Rourke and Van Damme pull off their shirts, while Rodman keeps his on. And, wisely, The Worm leaves most of the kicking to his co-star.

At 79 minutes, Love and Other Catastrophes is more of a snack than a meal -- one that could use a little less sugar. Now that Croghan has figured out how to bring characters she likes to the screen, her next lesson is to learn how to flesh them out without resorting to emotional shorthand.